"The Big Shipment" or "Who's the big man?"

Our final episode of 1967 is not quite a dope parable, but it is about drug trafficking.

These plants look sad. I guess they need watering.

 

Heroin? Seriously?

Clark Howat is the boss this week.

The budget for season two must have been of the chain by Dragnet standards.

Here, we have a soundstage full of a whole entire crashed Cessna 140 plus three cars!

 

Yep. It's a soundstage with a freaking plane in it!

There is some mysterious and not-legal cargo aboard, surprise surprise.

It's those powder packets from the intro!

Gannon! We didn't know you could speak Spanish!

Entrega la mercancia como la otra vez al mismo lugar -- 5 de las mañana Miércoles.

(Deliver the goods as before at the same place - 5 of Wednesday morning.)

  

THOSE PRICES FOR POT AND HEROIN SOUND RATHER EXORBITANT

They dolly the camera RIGHT up to the car!

How do you work this thing?

OK Nevermind, let's just go check out the plane rental place.

 

OK, back to the sound stages:

You're going to read some lines, I'm going to read some lines, the usual.

Do you understand?

I BETTER PUT MY COOL GLASSES ON

That's better.

Well, Door, it's just you and me again.

Here's our first reverse-projection driving sequence of the episode, 17 frames.

That's fancy driving.

Let's go wake up Bert Holland.

What a ham.

Enter our second night-driving reverse-projection assembly (seven frames):

Let's follow it up with the "driving past the Cluny scotch billboard" sequence:

It does beat the hell out of sequences driving to and from Parker Center.

Yes, pretty much a classic midcentury modern apartment house lobby but stripped way the hell down!

Well, we solved the case - those little plastic letters never line up straight.

3B David Johnson

3C M. Garner

3D Jerome Frank

3E P. Henderson

3F John Simon

2261 S. Lankershim Boulevard.

Blue accent wall, gold carpet...

Side chairs, fancy...umbrella stand?

DING DING 

This carpet is so gold that it got it's own musical cue:

That is some godawful carpet.

It's fitting. The Lorraine Gary's character on the other side of the door is hella tragic.

HEY LADY CAN YOU TELL US WHERE TO FIND FRED VINCENT?

NOT RIGHT AWAY

I HAVE TO BE ALL TRAGIC FIRST

Hey lady, you know this place was once home to a bookmaker and the scene of an overdose?

THAT'S LOS ANGELES FOR YOU

 

TAKE A LESSON FROM PEGGY WEBBER

WHAT DOES THAT EVEN MEAN?

We are treated to both sides of the 76 Station drive-by pan.

That's so much neon. Wow. Hey, Joe, do us a favor and kick in a door!

WITH PLEASURE *kick*

FREEZE 

THERE IS A PROSTHESIS ON THAT CHAIR

Wall art in this set seems to travel in pairs.

GENEVA CONVENTION! GENEVA CONVENTION!

Watch out, Joe. That drum lampshade is creeping up behind you!

One. Big. Gold. Flokati. Rug.

Look under this bag of pot bales. It's a portal to another world!

WHAT WHAT

Jack, your morality is a little heavy-handed.

Popping out of the bushes like STP!

EVERYBODY POLKA!

Y'know...or not.

Julian Burton, John Sebastian.

I'M SHAKING PAPER AT YOU

Just kiddin'.

I'M OUT

All suspects now serving their sentences in the state prison.

S2e16

Starred

Jack Webb as Sergeant Joe Friday

Harry Morgan as Officer Bill Gannon

Fred Vincent as Jerry Frank

John Sebastian as Peter Witmer - I love this guy! Later in the series, he plays a mobster!

Julian Burton as Wallace Shanklin

Lorraine Gary as (tragic) Mrs. Frank

Clark Howat as Captain Al Trembly

Steve Dunne as Fred Robertson

Elaine DeVry as Patricia Wingate

William Boyett as Sergeant Robert Forsen

Bert Holland as George Donaldson

Art Direction - Russell Kimball

Set Decor - John McCarthy & John Sturtevant

Costumes - Vincent Dee

Written by David H. Vowell

Aired 28 December 1967